Peter Newmark (1998) More Paragraphs On Translation, Clevedon: Multilingual Matters, p. 137.
Entmündigung; 'sectioning' is the tactful British cultural equivalent; I preferred 'certification', as the German context perhaps removed it from prejudice.
Sammeltrieb. The jargon terms are 'collectionism' and 'syllogomania', but I preferred 'the urge to hoard'.
Lebensraum. 'Personal environment' or (of course) 'personal space'. (The political sense is hopefully a fossil.) Der Tod des Lebensgefährten hat eine neurotische Störung im Selbstwerterleben zur Dekompensation gebracht. 'The death of her life-partner had been offset by a neurotic disturbance in (the experience of?) her selfesteem.' ('Decompensation' is usually a medical term, but not here.)
Bezugsperson. 'The person one relates to'. An English coinage is desirable.
Asozialität. (yuck). 'Unsociable behaviour.'
. . . Sie lässt sich aus der Wohnung des Bruders herausklagen, um aufdiese Weise leichter an einen eigenen Besitz zu kommen. 'She had herself evicted by court order from her brother's house, and in order to obtain a new property (more easily).
(Ausklagen for Einklagen, 'sue, prosecute'. Thanks to Sabine Nice.)
Thymoleptisch. Obsolete word. 'Psychotropic'.
Versteinerung. Petrifaction, 'state of rigidity'. (Diogenes the philosopher in the latter part of his life abandoned all normal social habits and lived happily (?) in a tub. As the average life span increases, so does the syndrome.) The subject of the syndrome lives in a state of rigidity.
Peter Newmark (1998) More Paragraphs On Translation, Clevedon: Multilingual Matters, p. 73.
Peter Newmark (1998) More Paragraphs On Translation, Clevedon: Multilingual Matters, pp. 61-62.
The Barber InstituteThe Barber Institute of Fine Arts in Edgbaston Park Road outside Birmingham, with its outstanding Gwen John (Mère Poussepin), Degas, Claude, Redon (Crucifixion), Hals, Van Dyck, Sickert and many others, is I think the finest small picture gallery I have ever visited. But in the main it is pathetically monolingual. The university's language department is quite close, and the detailed and helpful leaflets for each bay all need translating. I do not know why Magritte's amazing Saveur des Larmes ('The Savour of Tears'?) has been anaesthetized into the bland 'Taste of Sorrow' (Le Goût de la Tristesse - yuck), given that English is said (of course!) to be the more concrete language.
La PatrieIn the Birmingham City Museum (which needs no puff) C. W. R. Nevinson's picture of the wounded and dying soldiers in the barn, to which the description, 'they are crying for their mothers' is an organic complement, is not as profound as The Third of May, but it as as moving. In English, the title, La Patrie, a grim instance of dramatic irony, stands (compare Wilfred Owen's Pro Patria Mori); in some other languages (das Vaterland), it could be translated literally with the same 'equivalent effect'.
Peter Newmark (1998) More Paragraphs On Translation, Clevedon: Multilingual Matters, p. 58.
Peter Newmark (1998) More Paragraphs On Translation, Clevedon: Multilingual Matters, p. 3.
The flowing mysterious visions fascinate, but what gives David Sylvester, the presenter, the right to change the titles La clé des songes ('The key to dreams') to 'The interpretation of dreams', La femme introuvable ('The woman who cannot be found') to 'The elusive Woman' or 'The unfindable Woman' (brevity?), Les jours gigantesques to 'Titanic days', L'esprit de géométrie to 'The mathematical mind', etc. Even if he is following a 'tradition', a 'translation norm' for nice free euphonic translations (cf. Remembrance of Things Past), isn't it time to break with it, to try and write simply what the painter wrote? On the other hand, if the titles are not Magritte's (cf. 'The Emperor Concerto', i.e. Beethoven's 5th Piano Concerto), the translator can go ahead.
Peter Newmark (1998) More Paragraphs On Translation, Clevedon: Multilingual Matters, p. 1.
In the Sistine Chapel, nothing is written, let alone translated. In the Raphael Rooms, the light is so dim that nothing can be read. In the Museum of Contemporary Art, all titles remain in their original languages. (There is an arresting Crucifissione by Ottone Rosai of a man in working clothes being crucified.) The mass is in the vernacular, but the Church still appears to mistrust translation.
Peter Newmark (1998) More Paragraphs On Translation, Clevedon: Multilingual Matters, p. 30.
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